B.A. with Highest Honors, Oberlin College, 1995

M.A., Northwestern University, 1996

Ph.D., Northwestern University, 2002



Queer Behavior: Scott Burton and Performance Art (Chicago: University of Chicago Press, 2022)

Abstract Bodies: Sixties Sculpture in the Expanded Field of Gender (New Haven and London: Yale University Press, 2015).

(ed.) Queer, Whitechapel Documents of Contemporary Art Series (Cambridge, Massachusetts: The MIT Press, 2016).  29th Annual Lambda Literary Awards finalist for “Best LGBTQ Anthology” (2017)

(co-ed.) Trans Cultural Production, special issue of TSQ: Transgender Studies Quarterly 1.4 (November 2014), co-edited with Julian B. Carter and Trish Salah

(ed.) Scott Burton: Collected Writings on Art and Performance, 1965–1975 (Soberscove Press, 2012). Winner of SAIC’s 2015 Jean Goldman Book Prize

(ed.) From Diversion to Subversion: Games, Play, and Twentieth Century Art (Penn State University Press, 2011)

Rodin: Sex and the Making of Modern Sculpture (New Haven and London: Yale University Press, 2010)

Body Doubles: Sculpture in Britain, 1877–1905 (New Haven and London: Yale University Press, 2004)

(ed.) Sculpture and the Pursuit of a Modern Ideal in Britain, c.1880–1930 (Aldershot: Ashgate, 2004)


“Abstract Bodies and Otherwise: A Conversation with Amelia Jones and David Getsy on Gender and Sexuality in the Writing of Art History,” (posted 16 February 2018)

“A Sight to Withhold: David J. Getsy on Cassils,” Artforum (February 2018)

“Rubbish and Dreams: The Genderqueer Performance Art of Stephen Varble‌,” The Archive [of the Leslie-Lohman Museum of Gay and Lesbian Art] 62 (Winter 2017): 3-7.

“Queer Relations,” ASAP/Journal 2.2, special issue: “Queer Form” (May 2017): 254–57‌

“Seeing Commitments: Jonah Groeneboer’s Ethics of Discernment,” Temporary Art Review (8 March 2016)

“Histories for the Future: Visionary Identification in the Work of Carlos Motta,” Carlos Motta: Deviations, exh. cat. (New York: P.P.O.W., 2016)

“Generativity: On Michelle Grabner’s Recent Sculpture,” in Michelle Grabner: Bronze (New York: James Cohan Gallery, 2016), 4–11

“Appearing Differently: Abstraction’s Transgender and Queer Capacities, David J. Getsy in conversation with William J. Simmons,” in Dietmar Schwärzler, et al., eds., Pink Labour on Golden Streets: Queer Art Practices (Vienna: Schriftenreihe of the Academy of Fine Arts, Vienna, and Sternberg Press, 2015), 38–55.

“Acts of Stillness: Statues, Performativity, and Passive Resistance,” Criticism 56.1 (Spring 2014), 1-20.

“Exalting the Unremarkable: Van Gogh’s Poet’s Garden and Gauguin’s Bedroom,” in Gloria Groom, ed., Van Gogh’s Bedrooms, exh. cat., Art Institute of Chicago (New Haven and London: Yale University Press, 2016), 36–49.

“The Image of Becoming: Cassils’s Allegories of Transformation,” in Cassils, exh. cat. (Eindhoven: MU Eindhoven, 2015), 6–19.

“Laying it Down: Heroic Reclining Men and Other Tactical Inversions,” in Eugenie Tsai, et al., eds., Kehinde Wiley: A New Republic, exh. cat. (Brooklyn: Brooklyn Museum of Art, 2015), 94–99

“Catherine Opie, Portraiture, and the Decoy of the Iconographic,” in Confronting the Abject: Catherine Opie, Stephanie Sick Distinguished Visiting Professorship Monograph Series (Chicago: School of the Art Institute of Chicago, 2015), 15–37.

“Capacity,” TSQ: Transgender Studies Quarterly 1.1, special issue: “Post-posttransexual: Terms for a 21st Century Transgender Studies” (Spring 2014): 47–49.

“Queer Formalisms: Jennifer Doyle and David Getsy in Conversation,” Art Journal 73.4 (Winter 2013)

“Queer Exercises: Amber Hawk Swanson’s Performances of Self-Realization,” GLQ 19.4 (Fall 2013): 465–85.

“Playing in the Sand with Picasso: Relief Sculpture as Game in the Summer of 1930,” in D. Getsy, ed., From Diversion to Subversion: Games, Play, and Twentieth Century Art (Penn State Univ. Press, 2011), 80–93.

“Mourning, Yearning, Cruising: Ernesto Pujol’s Memorial Gestures,” PAJ: A Journal of Performance and Art 90 (September 2008): 11–24.

“Tactility or Opticality, Henry Moore or David Smith: Herbert Read and Clement Greenberg on the Art of Sculpture, 1956,” Sculpture Journal 17.2 (2008) reprinted in R. Peabody, ed., Anglo-American Exchange in Postwar Sculpture, 1945–1975 (Getty Museum, 2011).

“Recognizing the Homoerotic: The Uses of Intersubjectivity in John Addington Symonds’s 1887 Essays on Art,” Visual Culture in Britain 8.1 (Spring 2007): 37–57.

“Fallen Women: The Gender of Horizontality and the Abandonment of the Pedestal by Giacometti and Epstein,” in A. Gerstein, ed., Display and Displacement (Holberton, 2007), 114–29.

“Privileging the Object of Sculpture: Actuality and Harry Bates’s Pandora of 1890,” Art History 28.1 (February 2005): 74–95.



Rubbish and Dreams: The Genderqueer Performance Art of Stephen Varble‌, retrospective exhibition curated for the Leslie-Lohman Museum of Gay and Lesbian Art, New York (29 September 2018–27 January 2019)

Jared Buckhiester: Love Me Tender, exhibition curated for the Bureau of General Services—Queer Division, New York (15 September–12 November 2017)

David Getsy

Profile picture of David Getsy


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